DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42863#0095
PAINTED BY RAPHAEL
73
Urbino, is now in Rome. If he is, ask him to
paint a bust of Federico in armour, but if Raphael
should not be there, find out who is the best master
next to him, since we do not wish to have him
painted by an inferior artist, but desire that his
portrait should be taken by some good master, whom
we will treat with our usual honourable courtesy.
And tell him that we should like the portrait to
be life-size and painted as soon as possible, since
there is nothing that we wish for more.”
A whole year passed, however, before Raphael
was able to undertake the commission. At length,
on the 13th of January 1513, he invited the young
prince to give him his first sitting. “ Yesterday,”
wrote Stazio Gadio to the Marchesa, “ Federico
armed himself with Your Excellency’s doublet, put
on his plumed hat and gold cape, and went to
have his portrait painted by Maestro Raphael of
Urbino, painter to His Holiness, who took a sketch
of him in charcoal in this dress, which he will paint
afterwards.”
“ M. Raphael of Urbino,” adds Grossino, “ has
begun to paint Signor Federico in the costume
which he wore at the opening of the Council, armed
with the doublet and wearing the hat which Your
Excellency sent him.”
A month later, on the 15th of February, Grossino
wrote again: “As for S. Federico’s portrait, I ask
M. Raphael constantly how it is progressing; he
tells me that he is working at it, and that I need
have no fear, since he is very anxious to paint this
portrait and serve Your Excellency well.” But four
days after this, Grossino wrote: “ M. Raphael of
Urbino has returned the cape and doublet of
73
Urbino, is now in Rome. If he is, ask him to
paint a bust of Federico in armour, but if Raphael
should not be there, find out who is the best master
next to him, since we do not wish to have him
painted by an inferior artist, but desire that his
portrait should be taken by some good master, whom
we will treat with our usual honourable courtesy.
And tell him that we should like the portrait to
be life-size and painted as soon as possible, since
there is nothing that we wish for more.”
A whole year passed, however, before Raphael
was able to undertake the commission. At length,
on the 13th of January 1513, he invited the young
prince to give him his first sitting. “ Yesterday,”
wrote Stazio Gadio to the Marchesa, “ Federico
armed himself with Your Excellency’s doublet, put
on his plumed hat and gold cape, and went to
have his portrait painted by Maestro Raphael of
Urbino, painter to His Holiness, who took a sketch
of him in charcoal in this dress, which he will paint
afterwards.”
“ M. Raphael of Urbino,” adds Grossino, “ has
begun to paint Signor Federico in the costume
which he wore at the opening of the Council, armed
with the doublet and wearing the hat which Your
Excellency sent him.”
A month later, on the 15th of February, Grossino
wrote again: “As for S. Federico’s portrait, I ask
M. Raphael constantly how it is progressing; he
tells me that he is working at it, and that I need
have no fear, since he is very anxious to paint this
portrait and serve Your Excellency well.” But four
days after this, Grossino wrote: “ M. Raphael of
Urbino has returned the cape and doublet of